Memories attributed to composers and the stories behind pieces, with their sources. Each story shows how reliable its source is; read each one on its own page and listen to the piece.
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Classical Turkish music works in real staff notation with AEÜ accidentals. Read the score, hear it with kanun sound, adjust the tempo.
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The archive only holds classical and sacred works whose composer and lyricist died more than 70 years ago; folk songs (türkü) and recent composers are not included for copyright reasons.
The level is estimated automatically from the score: range, notes per second, tempo, short and dotted values, the length and asymmetry (aksak) of the usul, the variety of perdes and the length of the piece are scored together. It is a guide, not a substitute for a teacher's judgement.
The archive only includes works by composers whose copyright has expired.
The level is estimated automatically from the score (range, speed, rhythm, usul, variety of perdes, length).
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About this workThe story of the piece
The story linked to this piece, as told in the sources. The reliability of the source is shown above it; the sources are listed at the end of the page.
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Ûdî (Hattat) Sâmi Bey
Born: 1874 · Died: 1938
Scores of works by Ûdî (Hattat) Sâmi Bey (1874–1938): 1 pieces in real notation with AEÜ accidentals, playable with kanun sound, plus recordings.
He was born in 1874 and died in 1939. An oud player and music publisher, he served on the teaching board of the Şark Mûsıki Cemiyeti and in 1909 took part in performances of the Dârü'l-Mûsıki-i Osmânî ensemble in Istanbul. Between 1910 and 1914 he issued, every fifteen days, the music publication "Osmanlı Musiki Dosyası", printing the classical fasıl repertoire in instalments. His sultânîyegâh song "Hâbîde olan tâli-i nâ-sâzım" is among his surviving works.[1]
Contributions to music theory
Memories
Memories attributed to him and told in the sources. The reliability of the source is shown above each one; the sources are listed at the end of the page.
The level is estimated automatically from the score: range, notes per second, tempo, short and dotted values, the length and asymmetry (aksak) of the usul, the variety of perdes and the length of the piece are scored together. It is a guide, not a substitute for a teacher's judgement.
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Usuls without works in the archive
No works in these usuls are in the score archive yet; you can hear their düm-tek patterns in the usul metronome.